Esta tesis busca aproximarse a la figura de Andrés A. Cáceres, entre 1882 y 1883, desde una triple perspectiva de historia política, social y cultural. Sus temas centrales son el pensamiento político y militar de este personaje y la valoración del peso de su participación como protagonista central en la llamada Campaña de la Sierra durante la Guerra del Pacífico. Se intenta demostrar que la figura individual de Cáceres marcó de manera decisiva, dentro de ciertos parámetros sociales, el curso de los acontecimientos militares, e influyó también, notablemente, en el tenso proceso político-diplomático de la época. / Tesis

Ce mémoire propose d’étudier l’écriture de l’histoire par les historiens canadiens-français dans la seconde moitié du XIXe siècle en nous penchant sur les cas de François- Xavier Garneau et de son Histoire du Canada (1845-1852) et de Benjamin Sulte et son Histoire des Canadiens français (1882-1884). Pensées, organisées et composées dans l’esprit de tableaux et de portraits historiques, ces synthèses étaient écrites selon une approche plus artistique de la science historique qui s’explique par la volonté de faire mémoire collectivement, en inscrivant dans l’imaginaire national des événements et des personnages dignes de mention, et individuellement en créant des impressions vives sur le lecteur. Pour ce faire, François-Xavier Garneau et Benjamin Sulte s’en remettaient à ce nous appelons une poétique de l’histoire. Créées par des procédés littéraires, relevant du pittoresque et du pathétique, ces impressions vives permettent à l’historien de guider son lecteur à voir le récit sur plusieurs plans : historique, moral, idéologique, esthétique, etc. Loin d’être ségrégués dans des chapitres respectifs, voir dans des ouvrages différents par nature, le scientifique et le littéraire étaient vus par les historiens de cette époque comme deux entités pouvant aspirer à une cohérence en vue de faire corps. Cette tension entre les humanités littéraires et l’ambition scientifique est perçue par certains comme une indétermination propre au discours historien. Ce faisant, nous voulons discerner les modalités d’écriture et de production de ces synthèses d’histoire nationale, ainsi que les rapports passés et présents de la synthèse historique et de la connaissance historique. Plus précisément, nous chercherons à voir comment les particularités de la synthèse d’histoire non seulement permettent, mais amplifient la puissance évocatrice de la poétique de l’histoire. Ainsi, nous pourrons distinguer de quelles façons synthèse et poétique entretiennent une symbiose. / This thesis studies the writing of history by French-Canadian historians in the second half of the nineteenth century by examining the cases of François-Xavier Garneau’s Histoire du Canada (1845-1852) and of Benjamin Sulte’s Histoire des Canadiens français (1882- 1884). Organized, composed and thought in the spirit of paintings and historical portraits, these syntheses were written according to a more artistic approach of historical science, which is explained by the will to remember collectively, by inscribing in the national imagination events and characters worthy of mention, and individually by creating vivid impressions on the reader. To do this, François-Xavier Garneau and Benjamin Sulte relied on what we call the poetics of history. Created by literary methods, pertaining to the picturesque and pathetic, these vivid impressions allow the historian to guide his reader to see the story on several levels: historical, moral, ideological, aesthetic, and so on. Far from being segregated in respective chapters or different books, the scientific and the literary methods were seen by historians of that time as two entities able to aspire coherence in order to become one. This tension between literary humanities and scientific ambition is perceived by some as peculiar indeterminacy to the historian's discourse. In doing so, we want to discern the methods of writing and producing these syntheses of national history, as well as the past and present relations of historical synthesis and historical knowledge. More precisely, we will seek to see how the particularities of the synthesis of history not only allow, but amplify the evocative power of the poetics of history. Thus, we can distinguish in which ways synthesis and poetics maintain a symbiosis.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2004-2005 / Dans le cadre des multiples ressacs qui ponctuent le travail de la mémoire en Allemagne, les défis lancés à l'historien sont tentaculaires puisque celui-ci doit conjuguer sa propre expérience avec l'objectivité requise par la discipline historique. Un historien allemand, Ernst Nolte, se situe depuis le milieu des années 1980 au centre d'une controverse. Frappé d'anathème, il fait depuis sa formule du «passé qui ne veut pas passer » figure d'éternel marginal chez ses collègues d'outre-Rhin. L'historien François Furet accepte de dialoguer avec l'historien allemand et permet à celui-ci d'exposer les éléments de son interprétation « historico-génétique » de la dialectique entre le fascisme et le communisme. L'interprétation déterministe de Ernst Nolte nous invite à procéder à l'examen de l'évolution radicale de son approche phénoménologique développée en 1963 et des multiples contradictions qui enferment l'historien et le citoyen allemand Ernst Nolte dans un rapport ambigu au passé de sa nation. / Québec Université Laval, Bibliothèque 2014

"La conscience spirituelle chrétienne selon le P. Charles André Bernard est ce qui se situe à la racine du projet spirituel chrétien. Parce que l'Esprit Saint l'habite et la vivifie, la conscience spirituelle s'avère l'attitude de l'être connaturalisé par l'Esprit. Et comme attitude spirituelle, elle dynamise la structure anthropologique pour donner plus de vigueur et de clarté à la vie chrétienne. Or, la vie chrétienne, vie du baptême en l'être, devient vie spirituelle par la conscience que nous en prenons et la volonté d'y progresser. Ainsi, la vie spirituelle chrétienne peut devenir objet d'expérience. Car l'expérience spirituelle chrétienne, expérience dans l'Esprit Saint, naît de cette prise de conscience spirituelle. Dans la pensée théologique et spirituelle du P. Charles André Bernard la notion de conscience spirituelle, notion de théologie plutôt présupposée qu'explicitée, connaît une évolution intégrative dans la notion d'expérience spirituelle. Cette dernière étant plus inclusive retient la notion de conscience spirituelle comme base de son élaboration anthropologique, théologique et spirituelle afin de rendre compte du caractère existentiel, historique et expérientiel de toute vie spirituelle."

Jacques Dupuis, un Jésuite belge, a élaboré une nouvelle perspective sur la théologie des religions. Dans ses deux derniers ouvrages, il a tenté d'établir une « théologie chrétienne du pluralisme religieux », non seulement de « fait » mais aussi de « droit », laquelle, d'après lui, dépasse les trois paradigmes antérieurs que sont l'exclusivisme, l'inclusivisme et le pluralisme. Il s'agit, à partir d'une christologie trinitaire, de rester fidèle à la foi chrétienne (sans tomber dans l'isolement) et de s'ouvrir aux autres traditions religieuses (sans se livrer au relativisme). Ce travail comporte une démarche en trois temps. Il s'agit d'abord de découvrir l'originalité de la théorie de Jacques Dupuis, et la méthode qu'il a privilégiée. Nous examinerons ensuite les réactions auxquelles les positions de Dupuis ont donné lieu, notamment celles de Rome. Nous tâcherons enfin d'amorcer une réflexion sur la possibilité de tracer une autre voie. / Jacques Dupuis, a Belgian Jesuit, developed a new perspective on the theology of religions. In his last two books, he tried to establish a « Christian theology of religious pluralism », not only « of fact » but « of right », which, for him, would go beyond the previous three paradigms of exclusivism, inclusivism, and pluralism. Drawing on a trinitarian christology, Dupuis's approach sought to remain faithful to the Christian faith (without falling into isolation), while being open to other religious traditions (without indulging in relativism). The present work follows a three-step process. We will first expose the originality of Jacques Dupuis's theory, and the method he retained. Then, we will examine the reactions to which Dupuis's positions gave rise, especially those from Rome. Finally, we will initiate a reflection on the possibility of opening another avenue.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T12:59:33Z No. of bitstreams: 1 Bruno Tateishi.pdf: 1268257 bytes, checksum: 80c2b714cc942d38f98b14304bb968f5 (MD5) / Made available in DSpace on 2018-11-05T12:59:33Z (GMT). No. of bitstreams: 1 Bruno Tateishi.pdf: 1268257 bytes, checksum: 80c2b714cc942d38f98b14304bb968f5 (MD5) Previous issue date: 2018-09-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The main goal of this paper is to analyze how Henrique de Senna Fernandes’s novel orchestrates the social diversity of languages artistically represented, recovering memories to forge a Macanese identity. Wherefore this research will seek to answer the following questions: 1) How does Senna Fernandes artistically articulate, in his inward Romanesque universe, the social diversity of discourses recovering memories of Macao? 2) From the orchestration of voices, what dialogical relations are established in Senna Fernandes’s novel to comprehend the Macanese identity represented by work? Starting from the premise that the novel, according to Bakhtin’s conception, is characterized by the internal stratification of language and taking focus the concept of multilingualism, we will seek confirmation or refutation of the following hypothesis: if the novel discourse is multilingual, that is, it is built up through diversity of voices and discourses, Senna Fernandes’s novel is representative of Macao cultural memory and identity, as far as it recovers different voices which appear in novels, which describe characters and spot them in different social spheres. The selected corpus is the conjunction of two novels of Senna Fernandes having the opuses been disposed chronologically by the following way: Amor e dedinhos de pé (1985) and the A trança feiticeira (1994). This research inserted in the theoretical framework of Dialogical Analysis of Discourse (DAD) will be divided into: 1) Elaboration of a social historical cultural context overview of Macao, which will start from the beginning of Portuguese occupation / administration in Macao until the end of the transition period, which would assure the return of Macao sovereignty to the government of China. Along this historical context overview of Macao, we will try to understand the historical political development of Macanese identity, more specifically throughout the twentieth century (time registered in novel and time of the author). 2) At the second part, we will explore the literary universe of Macao based on the idea of “Writing Macao”. 3) Development of theoretical basis which will be focused on Bakhtin’s approach about the discourse in novel; 4) Analysis of the selected corpus. In order to carry out the chosen literary works, this will be achieved as follows: (a) Delimitation of the context represented by work, clarifying how it contributed to the development of narrative and its characters; (b) Reading of works and selecting of statements, containing narrator’s voices and / or their characters’ as well as the manner of these voices, which refer to the issues of identity and memory of Macao; (c) Analysis of the discourses expressed by voices, showing how we can reflect, through them, on the issues of identity realized in work, analyzing, “dialogical lens”, how these voices legitimize their different values and perspectives and how they dialog among themselves / O objetivo deste trabalho é analisar como o romance de Henrique de Senna Fernandes orquestra a diversidade social de linguagens representadas artisticamente, recuperando memórias para forjar uma identidade macaense. Esta pesquisa buscará, por conseguinte, responder as seguintes perguntas: 1) Como Senna Fernandes articula artisticamente, no interior de seu universo romanesco, a diversidade social de discursos, recuperando memórias de Macau? 2) A partir da orquestração de vozes, que relações dialógicas são estabelecidas no romance de Senna Fernandes para compreender a identidade macaense representada na obra? Partindo da premissa de que o romance, na concepção bakhtiniana, se caracteriza pela estratificação interna da linguagem e tomando como foco o conceito de plurilinguismo, sustentamos a seguinte hipótese: se o discurso do romance é plurilíngue, ou seja, constrói-se na diversidade de vozes e de discursos, o romance de Senna Fernandes é representativo da memória e da identidade cultural de Macau, à medida que recupera diferentes vozes que aparecem nos romances, que caracterizam as personagens e as localizam em diferentes esferas sociais. O corpus selecionado é o conjunto de dois romances de Senna Fernandes, estando as obras dispostas cronologicamente da seguinte forma: Amor e dedinhos de pé (1985) e a A trança feiticeira (1994). Esta pesquisa, inserida no quadro teórico da Análise Dialógica do Discurso (ADD), estará assim dividida: 1) Elaboração de um panorama do contexto sócio-histórico-cultural de Macau, que partirá do início da ocupação/administração portuguesa em Macau até o fim do período de transição, que garantiria o retorno da soberania de Macau ao governo da China. Ao lado desse panorama do contexto histórico de Macau, tentaremos entender a construção histórico-política da identidade macaense, mais especificamente ao longo do século XX (tempo inscrito no romance e tempo do autor). 2) Na segunda parte, iremos explorar o universo literário de Macau com base na ideia de “Escrever Macau”. 3) Desenvolvimento da fundamentação teórica, que estará centrada na abordagem bakhtiniana sobre o discurso no romance; 4) Análise do corpus selecionado. Para que se leve adiante a análise das obras literárias escolhidas, proceder-se-á da seguinte forma: (a) Delimitação do contexto representado na obra, explicitando de que forma ele contribui para o desenvolvimento da narrativa e de seus personagens; (b) Leitura das obras e seleção dos enunciados, contendo as vozes do narrador e/ou dos personagens, que remetam a questões de identidade e memória de Macau; (c) Análise dos discursos expressos pelas vozes, mostrando de que forma podemos refletir, por meio deles, sobre questões de identidade percebidas na obra, analisando, por meio de “lentes dialógicas”, de que forma essas vozes legitimam seus diferentes valores e pontos de vista e como elas dialogam entre si

自八十年代始，中國大陸文藝雜誌相繼出現一批帶筆記風格或直接以筆記體寫作的短篇小說。研究者不僅探討此等作品轉化運用傳統文體的寫作現象及美學特徵，更為配合「新時期」之文藝氣象，進而以「新筆記小說」的文類加以歸納，突出其「舊瓶新酒」的現代意義。新筆記小說與筆記傳統的連繫，無疑為論者提供最佳範本，展開「傳統」與「現代」對話和融合的可能性的探討。相關討論嘗試為新筆記小說爭取文學史位置，卻無法脫離「新」與「舊」、「傳統」與「現代」簡單的二分框架，弱化了這些短篇小說作為探索新時期寫作出路的尖兵角色。本文重新提出新筆記小說的研究，認為是理解八十年代文藝界重新定義、拓展現實主義和小說實踐的關鍵。新筆記小說作家結合筆記與小說的特性，其實已觸及敘事的真實與虛構的辯證，在中國的紀實傳統中力尋書寫現實的可能。本文分別以汪曾祺 (1920-1997)、林斤瀾 (1923-2009)和鍾阿城 (1949- )的新筆記小說為研究個案，探討三位作家如何借用筆記小說的文體結構和敘事特質，形構現實主義小說的另類形式，突破意識形態對「現實主義」小說的制約。與此同時，當「現實主義」在「現代性的追求」壓力下面臨一元性的崩解，新筆記小說作家堅持「擬真」的嘗試，顯得意味深長，本文將作進一步的討論。 / Since the 1980s, a number of fictions written in the note-form have emerged in literary magazines on Mainland China. These works were put under a genre named "New Anecdote" (XinBiji Xiaoshuo, 新筆記小說) which implies the transformation from the classical anecdote to the modern anecdote. Researchers put emphasis mainly on the classical aesthetic characteristics found in the new form of the anecdote. However, it is observed that their studies were limited to the simple framework based on the binary oppositions of "old" and "new" as well as "traditional" and "modern". Such discussion had obscured the actual role of the new anecdotes being taken in the particular historical context of China in the New Era. / The form of "New Anecdote" is, in fact, a fusion of note and fiction, which can possibly hit the border of realistic and imaginary narratives. The practice of "New Anecdote" is closely related to the development of Realism in China in the Twentieth Century. Based on the discussion about "reality" from the writers of new anecdotes, this thesis attempts to point out that the "New Anecdote" is a key to understand how the writers of the time re-defined the realistic writings and their relationship to the society in China in the 1980s. / This thesis gives an in-depth analysis of the new anecdotes written by three contemporary writers, namely Wang Zengqi 汪曾祺 (1920-1997), Lin Jinlan 林斤瀾 (1923-2009) and Zhong Acheng (Ah Cheng) 鍾阿城 (1949- ). It will illustrate how these three writers make use of the structure and the narrative style of the anecdote to re-create new forms of realistic fiction, and to achieve their aims of breaking through the ideological constraints of Realism. Meanwhile,since realistic fiction has been considered as an antiquated and declining form under the development of aesthetic modernity in China in the 1980s, it is crucial to profoundly discuss the essence of the new anecdotes with reference to the socio-historical background of the New Era. / Detailed summary in vernacular field only. / 王素韻. / Parallel title from English abstract. / Thesis (M.Phil.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 113-131). / Abstracts also in English. / Wang Suyun.

A presente pesquisa propôs a análise de todos os vinte contos que compõem a obra Marcovaldo ou As estações na cidade (2015 [1963]), de Italo Calvino. O foco das análises voltou-se para o protagonista, Marcovaldo, um trabalhador pobre e em permanente estado de desconforto com as mudanças ocorridas no contexto social pós-guerra, especialmente na Itália, no período de seu milagre econômico, que foi impulsionado pelo fim de medidas protecionistas na economia (GINSBORG, 2003). Ao tentar romper com esse cenário, buscando a beleza genuína da natureza, Marcovaldo vê-se experienciando situações que sempre o levam ao descontentamento, intrinsecamente ligado a um novo tipo de relação humana e social, construída a partir não somente da consolidação das sociedades capitalistas modernas, como igualmente da imposição de um padrão único de comportamento à sociedade — a mutação antropológica, como proposto por Pier Paolo Pasolini (1978, 1997). A pesquisa debruçou-se sobre o olhar Ecocrítico (GARRARD, 2006), despertado pela obra em questão, que sugere, a partir da Literatura (e da incorporação de outras áreas como a Sociologia, a Biologia, a Antropologia), o estudo da natureza, suas relações com a mulher e o homem e o refinamento da percepção acerca de questões ecológicas frágeis, captadas com mais afinco a partir da década de 1960 (PIGA; MANSANO, 2015), apesar de as mudanças de perspectiva sobre a sensibilidade em relação à natureza estarem em constante modificação principalmente desde o Iluminismo (THOMAS, 2010 [1983]). A esta pesquisa foram igualmente incorporados pressupostos da Ecosofia (GUATTARI, 2006 [1989]), que sugere um ressignificar de procedimentos e discursos hegemônicos advindos do sistema sócio-político-econômico capitalista. Para tanto, fez-se necessário, conjuntamente, compreender problemáticas concernentes à conjuntura ambiental do século XX e seu impacto sobre as classes menos favorecidas economicamente (BOFF, 1995), assim como assimilar os desdobramentos referentes ao ecologismo dos pobres (via econômica baseada na justiça social), preconizado por Joan Martínez Alier (2014 [2007]), tendo em vista a classe social à qual Marcovaldo pertence. Alicerçada nos princípios descritos, a esta pesquisa coube, portanto, analisar as interações de Marcovaldo e sua família com a natureza e suas possibilidades, suas modificações e incorporação a um efervescente mercado consumidor, com vistas a refletir sobre a crise ecológica (das três ecologias, conforme Guattari) e assinalar hipóteses de superação para a mesma, por meio da apologia de um convívio menos predatório do ser humano relativamente aos outros seres que ao seu lado coabitam na Terra. / The present research proposed the analysis of all twenty short stories that compose the book Marcovaldo or the seasons in the city (2015 [1963]), by Italo Calvino. The analyses focused on the protagonist, Marcovaldo, an impoverished proletarian that finds himself in a continuous state of discomfort with the changes that occurred in the post-war social context, especially in Italy during the period of the economic miracle, which was driven by the end of protectionist measures in the economy (GINSBORG, 2003). In trying to break away from this scenario, seeking the genuine beauty of nature, Marcovaldo ends up experiencing situations that always lead him to a discontent that is inextricably linked to a new kind of human and social relationship, built not only on the consolidation of modern capitalist societies, but also on the imposition of a single standard of behavior on society – an anthropological mutation, as proposed by Pier Paolo Pasolini (1978, 1997). The research focused on the Ecocritical approach (GARRARD, 2006), awakened by the object, which suggests the study (incorporating references from areas such as Sociology, Biology and Anthropology to Literary Theory) of nature, its relationship with women and men, and the refining of perceptions about delicate ecological issues, captured more intensively since the 1960s (PIGA, MANSANO, 2015), although the changes in perspective on sensitivity to nature are constantly shifting, mainly since the Enlightenment (THOMAS, 2010 [1983]). This research also integrated the assumptions of Ecosophy (GUATTARI, 2006 [1989]), which suggests a re-signifying of hegemonic procedures and discourses derived from the capitalist socio-political-economic system. In order to do so, it was necessary, jointly, to understand issues related to the environmental context of the twentieth century and its impact on economically disadvantaged classes (BOFF, 1995), as well as to assimilate the consequences related to the environmentalism of the poor, advocated by Joan Martínez Alier (2014 [2007]), in view of the social class to which Marcovaldo belongs. Based on the principles described, this research therefore had to analyze the interactions of Marcovaldo and his family with nature and its possibilities, its modifications and assimilation into an effervescent consumer market, aiming to reflect on the ecological crisis (of the three ecologies, according to Guattari) and point out hypotheses of overcoming it, by means of the apology of a less predatory human conviviality in relation to the other beings that, with them, live on planet Earth.

Este trabalho realiza a análise simbólica do tema do duplo nos contos fantásticos de Lygia Fagundes Telles, sob a perspectiva teórica dos regimes do imaginário de Gilbert Durand. Como questão central, sustenta o desvelamento dos caminhos singulares da representação que toma o duplo nos contos escolhidos da autora e como este se imbrica na teoria do imaginário. Adotam-se os seguintes procedimentos metodológicos: levantamento bibliográfico da obra e fortuna crítica da autora e pesquisa bibliográfica sobre as questões teóricas pertinentes. Após, realiza-se análise simbólica de sete contos selecionados da escritora. Encontrando-se o homem moderno fragmentado e com seu eu cindido, a temática do duplo associa-se à busca de identidade e de unicidade. A morte como tema recorrente na obra de Lygia Fagundes Telles aparece principalmente nos contos da vertente fantástica, constituindo-se como o domínio principal de representação do duplo, no momento em que se apresenta a questão da sobrevivência da alma (após a morte). Destaca-se a predominância do regime diurno do imaginário, pois esta polaridade é o regime das antíteses, condizente com os resultados alcançados pela análise do duplo. O trabalho ainda mostra a validade das hermenêuticas instauradoras de sentidos como um percurso produtivo e fecundo na interpretação de textos literários. A busca incessante da experiência da interioridade marca a essência da escritura de Lygia. Ela recusa os caminhos fáceis de uma escrita linear para embrenhar-se no discurso labiríntico do fantástico e, através dele, legitimar sua visão de mundo e suas denúncias da realidade social.

MARINHO, Cristiane Maria. Pensamento pós-moderno e educação na crise estrutural do capital. 2008. 286f. Tese (Doutorado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2008. / Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-04T14:50:21Z No. of bitstreams: 1 2008_tese_CMMarinho.pdf: 2314155 bytes, checksum: 28f7ba6d6a324f0c375a1e97a6e67b7d (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-04T16:02:36Z (GMT) No. of bitstreams: 1 2008_tese_CMMarinho.pdf: 2314155 bytes, checksum: 28f7ba6d6a324f0c375a1e97a6e67b7d (MD5) / Made available in DSpace on 2012-07-04T16:02:36Z (GMT). No. of bitstreams: 1 2008_tese_CMMarinho.pdf: 2314155 bytes, checksum: 28f7ba6d6a324f0c375a1e97a6e67b7d (MD5) Previous issue date: 2008 / This thesis analyzes post – modern thinking and education in Lyotard and Vattimo under the context of the structural crisis of contemporary capital. It aims at working out in detail a critical view on post – modern thinking and its central category of difference, featuring it as ideological expressions of the material output of such crisis, proving, critically its reflections and its ideological impact on education, based on the marxist theoretical framework: Mandel, enphasising the late capitalism concept and the third revolution; Meszáros, setting priority on the structural crisis of capital and its uncontrolability, activation of absolute limits and decreasing rate of utilization of goods; Jameson and Harvey, focusing on their criticism on post – modern thinking as ideological expression of late capitalism. The critical study as shown here examines if post – modern thinking and its view on education expresses the logic of capital: in Lyotard, it has been examined the role of university; in Vattimo, reflection has been about liberation of differences through media and the new hermeneutic ideal for education. The outcome of this study proves that post – modern thinking and its influence on education express the movements and concerns of contemporary capital in its structural crisis. Determination of late capitalism on education has been studied through influence of the third technological revolution on superior teaching based on Mandel’s thinking. The influence of the structural crisis on education has been examined based on Meszáro’s reflections. However, this study has proved, in addition, that post modern thinking, in spite of its epistemological and educational limits, also has contributed to improvements and possibilities of emancipation. / Esta tese analisa o pensamento pós-moderno e a educação em Lyotard e Vattimo no contexto da crise estrutural do capital contemporâneo. Tem por objetivo elaborar uma crítica ao pensamento pós-moderno e a sua categoria central da diferença apresentando-os como expressões ideológicas da produção material dessa crise, demonstrando criticamente suas reflexões e seu impacto ideológico na Educação a partir do referencial teórico marxista: Mandel, com ênfase no conceito de capitalismo tardio e a terceira revolução; Meszáros, com prioridade na crise estrutural do capital e sua incontrolabilidade, ativação dos limites absolutos e taxa decrescente de utilização da mercadoria; Jameson e Harvey, com a elaboração de sua crítica ao pensamento pós-moderno como expressão ideológica do capitalismo tardio. O estudo crítico aqui apresentado investiga se o pensamento pós-moderno e sua idéia acerca da Educação expressa a lógica do capital: em Lyotard, foi explorado o papel da universidade; em Vattimo, a reflexão foi sobre a libertação midiática das diferenças e o novo ideal hermenêutico para a educação. O resultado da pesquisa demonstra que o pensamento pós-moderno e sua influência sobre a educação expressam o movimento e os interesses do capital contemporâneo na sua crise estrutural. A determinação do capitalismo tardio sobre a educação foi vista por meio da influência da terceira revolução tecnológica no ensino superior, partindo do pensamento de Mandel. A influência da crise estrutural do capital na educação foi analisada, a partir das reflexões de Meszáros. Contudo, a investigação demonstrou, ainda, que o pensamento pós-moderno, apesar de seus limites epistemológicos e educacionais, também contribuiu com avanços e possibilidades emancipatórias.